Rehearsal after Reflect Soft Matte Discourse

Malin Arnell, Clara López & Imri Sandström

19:30–20:30 Sat 25 Feb

Tramway

/ Glasgow

Access by Festival or Day Pass

Who

Malin Arnell is “a dyke, an artist, Swedish, a basketball player, a serious person, a life explorer, a sister, a feminist, a fighter, a citizen, an individual, a political body, a survivor, a member, a student, a lady and a rascal.” She was part of the feminist performance group 'High Heel Sisters' and a co-founder of the YES! Association.1

Imri Sandström is a visual/performance artist/filmmaker. With curator Hanna Wilde and Högkvarteret she organizes IN THE ACT, a pretty incredibly looking feminist performance event.

Clara T. López sometimes does art, or maybe writing, happily fixes bicycles, as well as reads and discuss theory.

What

A performed reflection on Malin’s previous re-enacting of a super influential landmark of performance art from the French feminist/ identity politics artist Gina Pane: Discours mou et mat, one of a series of performances in which Pane often enacted carefully planned and deliberately controlled self-wounding. It’s an allegorical performance of alienation, abjection and the female figure, of the extreme fragility of the body and the reality of suffering.

Why

What is to be gained from this repetition, this concern with her body, their body, our body? Is performance a means to think with the body? What are the connections between a woman’s body and the physical but also allegorical nature of our bodily fluids…

“Blood, or decay, does not signify death. In the presence of signified death—a flat encephalograph, for instance—I would understand, react, or accept. No, as in true theater, without makeup or masks, refuse and corpses show me what I permanently thrust aside in order to live.” Julia Kristeva.

1. YES! is a separatist association for art workers whose practises and activities are informed by feminism with an intersectional perspective. YES!‘s goal is to overthrow the ruling system of heteronormative, patriarchal, racist and capitalist power structures by putting into practise a structural redistribution of the access to financial resources, space and time within the art scene.